/ 


THE 


Tapestry  Collection 

OF  THE  LATE 

Charles  M.  Ffoulke 


P.  W.  French  & Co. 


6 EAST  56th  STREET 

NEW  YORK 


Digitized  by  the  Internet  Archive 

in  2015 


https://archive.org/details/tapestrycollectiOOffou 


O the  late  Charles  M.  Ffoulke,  Esq.,  whose  large  col- 
lection of  tapestries  has  just  been  placed  with  Messrs. 
P.  W.  French  & Co.  6 East  56th  Street,  New 
York,  for  sale,  is  unquestionably  due  the  honor  of 
creating  the  love  and  appreciation  of  tapestries  in 
America.  Isolated  tapestries  have  existed  in  our 
country  for  many  years,  but  in  Mr.  Ffoulke’s  well- 
known  gallery  in  Washington  they  were  seen  for  the 
first  time  used  as  covering  for  the  entire  wall  space, 
and  cultured  Americans,  with  their  keen  appreciation  of  beauty,  were  quick 
to  show  their  admiration  and  delight. 

All  who  saw  these  sumptuous  textiles  so  rich  in  color  and  design,  which  for 
hundreds  of  years  had  been  hanging  in  the  palaces  of  princes,  and  were  saturated 
with  all  the  poetry,  art,  and  mystery  of  the  Middle  Ages,  were  eager  for  know- 
ledge concerning  their  meaning,  their  history  and  value.  Yielding  to  urgent  requests, 
Mr.  Ffoulke  delivered  interesting  lectures  in  New  York,  Boston,  Washington  and 
Chicago.  His  wide  knowledge,  genuine  love  and  enthusiasm  for  his  subject, 
caused  many  to  worship  with  him  at  his  chosen  shrine  in  art.  He  was  the  re- 
cognized authority  in  America  on  textile  art,  and  left  unfinished  a work  on  tapes- 
tries which  will  be  published  later.  During  the  many  years  Mr.  Ffoulke  spent 
in  Europe  seeking  health,  his  brilliant  mind  found  extreme  delight  in  the  study 
of  art,  and  many  happy  hours  were  spent  in  collecting  rare  antiquities,  especially 
tapestries.  It  was  owing  to  this  thorough  knowledge  and  keen  appreciation  of 
textiles  that  the  opportunity  was  given  him,  through  an  Italian  friend,  to  meet 
the  Princess  Barbarini,  and  it  was  in  conversation  over  the  tea  cups  that  the 
famous  Barbarini  collection  of  tapestries  passed  into  the  hands  of  Mr.  Ffoulke. 

One  or  two  series  only,  Mr.  Ffoulke  had  hoped  to  acquire  for  his  private 
use,  but  this  proud  family,  which  counted  Pope  Urban  the  VIII.,  six  cardinals 
and  seven  princes  among  its  antecedents,  now  refused  to  sell  any  part  of  its  col- 
lection, as  firmly  as  it  has  always  refused  to  sell  at  all  to  any  dealer. 

Mr.  Ffoulke,  after  spending  fifteen  days  in  the  palace  examining  these 
world  renowned  tapestries,  was  so  impressed  with  their  magnificence  and  1m- 


portance,  that  he  purchased  the  collection,  feeling  that  such  art  treasures  should 
not  be  lost  to  America. 

In  all,  there  were  one  hundred  and  thirty-five  tapestries,  superbly- woven 
pieces.  Those  now  in  the  Ffoulke  collection  the  most  remarkable  for  magnifi- 
cence of  design  and  color,  are  The  Judith  and  Holofernes,  eight  pieces;  The 
Dido  and  /Eneas,  eight  pieces;  Trojan  War,  four  pieces,  and  Months  of  Lucas, 
five  pieces,  and  Moses  and  Aaron,  six  pieces. 

In  the  Barbarini  Archives  is  preserved  a rare  manuscript  of  the  Middle 
Ages,  in  which  Luca  Holstemo  describes  the  numerous  tapestries  presented  by 
Louis  XIII  to  Cardinal  Francisco  Barbarini,  when  at  the  Court  of  France,  as 
Ambassador  of  Pope  Urban  VIII,  to  treat  concerning  the  peace  of  Europe. 
Almost  all  the  tapestries  belong  to  the  different  Flemish,  French  and  Roman 
schools.  Many  are  signed  with  the  name  of  the  master  weaver,  and  some  also 
with  the  name  of  the  artist  who  painted  the  cartoons.  During  the  time  Urban 
VIII  occupied  the  papal  throne,  a manufactory  of  tapestries  was  established  in 
the  Barbarini  Palace,  and  the  Dido  series  was  woven  there  in  1630.  All  these 
tapestries,  before  their  removal  from  Italy,  were  stamped  by  the  Italian  government 
and  also  with  the  seal  of  the  Royal  galleries  of  the  Uffizi  as  grand  objects  of  art. 

To  prove  the  immense  importance  and  extreme  value  of  this  collection, 
which  for  more  than  two  centuries  has  adorned  the  salons  and  galleries  of  one 
of  Rome’s  most  sumptuous  palaces,  exciting  the  admiration,  envy  and  praises  of 
Popes,  Princes  and  Dukes  of  the  most  ancient  aristocracy,  as  well  as  of  all  the 
savants  and  amateurs  of  the  world,  it  will  suffice  to  cite  the  cry  of  alarm  that 
went  up  from  all  the  Italian  journals  when  the  sale  to  a foreigner  of  all  the  famous 
Barbarini  tapestries  was  announced.  The  entire  Italian  press,  from  the  humblest 
provincial  journal  to  the  largest  paper  of  the  capital,  manifested  its  extreme  dis- 
pleasure at  seeing  such  artistic  treasures  go  out  of  Italy,  and  begged  the  govern- 
ment to  prevent  the  dispersion  of  such  an  artistic  patrimony,  but  the  press  was 
not  listened  to  and  the  collection  left  Italy. 


We  translate  from  the  Italian: 

“This  superb  collection  after  having  adorned  the  Barbarini  Palace  for  centu- 
ries, was  purchased  by  a true  amateur  and  profound  connoisseur  of  tapestries,  Mr. 
Charles  M.  Ffoulke,  an  American  Maeccenas  who  appreciates  the  value  of  ancient 
chefs  d’oeuvre  and  who,  impelled  by  a noble  and  patriotic  sentiment  of  pride, 
would  enrich  the  artistic  patrimony  of  the  finest,  greatest,  most  powerful  and  most 
glorious  Republic  in  the  world,  that  of  the  United  States. 

May  the  gratitude  of  his  corn-patriots  recompense  the  noble  and  generous 
initiative  of  this  American  Maeccenas.” 

The  death  of  Mr.  Ffoulke  now  gives  to  the  museums  and  art  lovers  the 
unusual  opportunity  of  obtaining  from  this  collection,  the  largest  and  finest  in  the 
world  owned  by  a private  individual,  some  of  the  rare  Barbarini  tapestries,  as 
well  as  other  celebrated  specimens  of  Flemish,  Beauvais  and  Gobelins  weave. 
Mr.  Ffoulke  personally  purchased  his  tapestries  in  France,  Belgium  and  Italy. 

Four  years  ago  he  found  that  even  in  Spain  no  more  tapestries  were  to  be 
had  except  from  the  palaces  and  at  fabulous  prices.  To-day  the  search  for  these 
subtle  paintings  in  tissue  is  more  alert  and  less  successful. 


THE  TRIUMPHAL  MARCH  OF  CHARLES  THE  FIFTH. 

Width  22  feet  3 inches,  height  1 2 feet  6 inches. 

THIS  wonderful  tapestry  was  woven  the  first  quarter  of  the  Eighteenth  Century  at  Mal- 
grange  near  Nancy,  by  weavers  from  the  Gobelins.  It  is  a historical  fact  that  twenty 
of  these  weavers  were  permitted  by  the  French  government,  at  the  request  of  Duke 
Leopold  of  Lorraine,  to  accept  service  with  Charles  Mittee  of  Malgrange  for  the  purpose  of 
weaving  a series  of  tapestries  to  illustrate  and  perpetuate  some  of  the  principal  events  in  the 
life  of  the  Duke’s  great  ancestor,  Charles  V of  Germany  and  Spain. 

Charles  V is  naturally  the  dominant  figure  in  the  procession  and  sits  enthroned  upon 
a dais  which  rests  upon  a gilded  car  drawn  by  four  horses  harnessed  abreast  and  led  by 
two  servitors.  Four  female  figures  representing  the  four  quarters  of  the  globe  are  seated  upon 
the  lower  step  of  the  dais;  and  the  Goddess  Fame  with  extended  wings  rides  the  clouds 
behind  him  and  holds  a wreath  of  laurel  above  his  head.  He  is  attended  by  a large  and 
magnificent  escort,  part  of  which  has  proceeded  him  with  music  playing  and  drums  beating. 

In  the  allegorical  group,  Europe  holds  a crown  in  her  hand,  and  a miniature  chapel 
upon  her  knee.  Three  other  crowns,  as  well  as  two  sceptors  lie  at  her  side  upon  the 
rich  carpet  covering  the  platform  of  the  car.  The  figure  is  beautifully  posed;  her  head,  bust 
and  gracefully  extended  arms  are  masterpieces  in  textile  painting.  Asia  holds  a basket  of 
flowers  in  her  lap  and  swings  an  incense  burner,  which  fitly  symbolizes  the  devotional  charac- 
teristics of  the  two  hemispheres.  America  holds  a bow  uplifted  and  is  represented  as  an 
Indian  squaw  with  a head-dress  of  red  feathers  and  a band  of  same  around  her  arms; 
while  Africa  sits  demurely  in  the  back-ground  and  is  represented  as  a negress  with  her  head 
decorated  with  the  trunk  and  tusks  of  an  elephant. 

The  dyeing  of  the  wools  and  silks  with  which  this  tapestry  is  woven  is  the  work  of 
Van  den  Kerchove,  the  celebrated  chief  of  the  dyeing  department  of  the  Gobelins. 

The  perspective  features  have  been  managed  in  an  unusual  manner  and  with  marvelous 
success,  by  winding  the  cavalcade  backwards  and  forwards  before  the  observer  in  coils,  so 
to  speak.  It  issues  from  the  forest  far  back  in  the  center  field,  slowly  approaches  the 
spectator  in  the  curving  line  across  the  plain,  sweeps  majestically  across  the  whole  front  of 
the  tapestry,  turns  upon  itself  at  the  fountain  surmounted  by  a graceful  Diana,  passes  in 
front  of  and  salutes  the  Empress  with  musical  salvos  as  she  stands,  surrounded  by  her  court, 
upon  the  balcony  of  the  palace. 

Every  part  has  been  woven  with  skill  and  talent  of  the  highest  order.  The  superb 
horses  are  full  of  life,  movement  and  energy,  and  the  flakes  of  foam  upon  them  bear  witness 
to  their  natural  nervousness  at  the  noise  and  music,  and  illustrates  how  carefully  the  artist 
who  created  the  tapestry  considered  detail.  It  is  a chef  d’oeuvre  of  textile  painting  which 
is  probably  without  a rival  in  America  and  which  has  but  few  equals  in  Europe. 

The  late  Director  General  of  the  Gobelins,  Monsieur  J.  J.  Guiffrey,  after  careful 
examination  of  the  tapestry,  placed  on  record  the  fact,  “That  he  considers  it  a magnificent 
specimen  of  textile  painting  and  congratulates  America  on  numbering  it  among  its  artistic 
treasures.”  The  Former  Director  General,  Monsieur  E.  Gerspach,  also  pays  high  tribute  to 
its  artistic  excellence  and  importance  by  stating,  “That  the  tapestry  is  admirable  in  compo- 
sition and  constitutes  a work  of  art  absolutely  of  the  first  order.” 


THE  “JUDITH  AND  HOLOFERNES”  SERIES 
THE  TAPESTRY  HERE  ILLUSTRATED  IS 

“THE  GOD  OF  ISRAEL  ROUTS  THE  ARMY  OF  HOLOFERNES,  AND  TREASURES  ARE  GIVEN  TO  JUDITH." 

Height  1 3 feet  6 inches;  width  1 9 feet  7 inches. 

THE  “Judith  and  Holofernes”  Series,  consisting  of  eight  Flemish  Tapestries  were  woven 
during  the  last  half  of  the  Seventeenth  Century  in  Brussels-Brabant  by  E.  Leyniers  and 
H.  Rydams,  and  illustrate  the  war  between  Nebuchadnezzar,  King  of  Babylon  and 
Israel,  the  history  of  which  is  written  in  the  “Book  of  Judith”  as  printed  in  the  Apochrypha. 

These  tapestries  possess  the  remarkable  distinction  of  having  belonged  for  about  two 
hundred  and  fifty  years  to  the  great  patrician  family— the  Barberini,  of  Rome — of  which 
Pope  Urban  VIII  was  the  most  prominent  member,  and  of  having  been  included  in  the  in- 
ventory of  the  tapestry  possessions  of  Cardinal  Carlo  Barberini  in  1695. 

In  Vol.  XLVIII  of  the  manuscripts,  still  preserved  in  the  Barberini  Library  in  Rome, 
there  is  an  inventory  of  the  tapestries  owned  by  the  nephew  of  Pope  Urban  VIII,  the  Car- 
dinal Carlo  Barberini,  dated  October  25th,  1695. 

In  this  inventory  the  series  “Judith  and  Holofernes”  is  designated  as  follows: 

“Series  woven  in  silk  and  wool,  representing  the  history  of  Judith — eight  tapestries.” 
They  passed  from  the  Barberini  collection  into  the  Ffoulke  collection  in  1889. 

As  evidence  of  their  artistic  value  and  importance.  Monsieur  J.  J.  Guiffrey,  the  late 
Director  General  of  the  Gobelins,  writes  in  pages  272-275  of  his  “Histoire  de  la  tapieserie 
depuis  le  moyen  age  jusqu’a  nos  jours,”  concerning  the  Leyniers  and  Rydams,  families  of 
tapestry  weavers  and  dyers. 

“The  Leyniers  family  ranked  with  the  greatest  in  Flanders,  both  in  the  number  and 
ability  of  the  tapestry  artists  it  produced.  The  following  is  a list  of  the  principal  members  of 
this  dynasty:  Gaspard,  born  in  1576,  died  in  1649,  was  one  of  the  most  diligent  tapestry 

weavers  of  his  time,  and  brother  of  Daniel  Leyniers,  of  whom  mention  has  already  been 
made;  Everard,  son  of  Gaspard,  born  in  1597  and  died  in  1680,  ‘covered  with  glory,’  con- 
tinued in  his  career  until  he  had  attained  his  eightieth  year.  In  a competitive  exposition  held 
in  1 650  by  the  best  weavers  in  Flanders,  Everard  was  awarded  the  highest  medal  over  all 
his  rivals.  Urbain,  son  of  Gaspard,  was  one  of  the  most  celebrated  dyers  of  his  time.  He 
preserved  and  employed  the  secrets  of  his  father  in  coloring  the  wools.” 

“The  excellence  of  his  dyes  brought  to  Gaspard  the  second,  in  1672,  the  title  of  ‘Dyer 
to  the  Governor  of  the  Netherlands,’  and  the  exclusive  monopoly  of  dyeing  all  the  wools  used 
in  all  the  ateliers  of  Brussels-Brabant.  Everard  had  three  sons — John,  Daniel  and  Giles — 
all  of  whom  followed  the  career  of  their  father.  John,  whose  reputation  eclipsed  those  of  his 
brothers,  wove  a series  of  tapestries  illustrating  the  history  of  Meleager  and  Atalanta,  after 
cartoons  by  Le  Brun,  for  the  brother  of  Louis  XIV.” 

On  page  275  of  the  work  heretofore  named  Monsieur  Guiffrey  tells  us  that  “Henry 
Rydams  began  his  career  as  a tapestry  weaver  in  1629,  and  was  succeeded  in  1671  by  his 
son,  who  bore  the  same  name  as  his  father.” 

“The  descendants  of  the  Rydams,  allied  with  the  descendants  of  the  Leyniers,  pre- 
served their  united  ateliers  until  the  middle  of  the  Eighteenth  Century.” 

After  reciting  some  of  the  remarkable  series  woven  by  the  Leyniers  and  Rydams  fami- 
lies, Monsieur  Guiffrey  adds,  “that  there  are  some  series  which  bear  the  names  of  both  of  these 
celebrated  families.” 

The  “Judith  and  Holofernes”  Tapestries  form  one  of  these  rare  series,  as  the  name  of 
Henry  Rydams  is  woven  in  the  blue  band  at  the  bottom  of  one-half  of  them,  and  that  of 
Everard  Leyniers  in  the  blue  band  at  the  bottom  of  the  other  half. 


iv*jiyfj*j‘j*jn 


THE  MOSES  AND  AARON  SERIES. 


Composed  of  six  Flemish  tapestries  with  magnificent  and  original  borders. 

The  tapestry  illustrated  is  “Moses  informing  Aaron  of  God’s  Message  to  Pharaoh.’’ 


Hie  subjects  and  sizes  of  the  set  are  as  follows: 

Width.  Height. 

Gathering  Manna;  Moses  directing  Aaron  to  keep  an  omer  of  it.  . . . 17'  4"  14'  1 " 

Battle  in  Rephidim.  Joshua  defeating  Amalak.  Aaron  and  Hur  hold- 
ing up  the  hands  of  Moses 20  8"  13'  10" 

Moses  and  Aaron  instituting  the  Feast  of  The  Passover 17'  3"  14'  1" 

God  delivering  Moses  the  tablets  of  stone  on  Mount  Sinai 14'  1 " 13  11" 

Moses  informing  Aaron  of  God’s  Message  to  Pharaoh  17'  0"  1 3'  1 0" 

Moses  and  Zipporah  tending  the  lambs  of  Jethro’s  Flock  13  1"  13'  1 1" 


These  wonderful  tapestries  were  woven  in  Flanders  during  the  first  half  of  the  Sixteenth 
Century  when  the  Flemish  weavers  excelled  all  others  in  the  magnificence  of  their  textile  pro- 
ductions. The  monogram  of  the  master-weaver,  Peter  Van  Aelst,  who  wove  the  Acts  of  the 
Apostles  for  Leo  X from  Raphael’s  Cartoons,  under  whom  this  series  was  woven,  appears  in 
the  right  hand  upright  galon  of  some  as  does  the  Flemish  mark  of  Brussels  in  Brabant  in  the 
left-hand  bottom  galon.  This  mark  consists  of  two  B’s  with  a shield  between  them.  These 
marks  were  guaranteed  by  the  edict  of  Charles  V who  commanded  that  any  weaver  who 
used  this  mark  improperly  should  lose  his  right  hand.  The  character  of  the  work  shows  that 
the  master-weavers  at  this  period  were  not  willing  to  abandon  all  the  traditions  of  the  Gothic 
period  and  adopt  without  reservation  the  dawning  glories  of  the  renaissance.  The  nobility  and 
dignity  of  the  principal  figures  in  these  tapestries,  and  sobriety  and  majesty  of  their  attitudes 
and  gestures,  and  the  expressiveness  of  their  features  practically  prove  that  the  author  of  the  car- 
toons was  one  of  Italy’s  greatest  masters.  In  the  top  borders  of  this  series  are  groups  or  bunches 
of  flowers,  fruits  and  leaves  attached  at  intervals  with  ribbons  to  a rope  of  laurel  leaves,  while 
in  the  center  of  the  bottom  borders  there  are  various  animated  objects,  allegorical  figures  on  the 
corners.  In  the  top  of  each  lateral  border  is  a female  figure  and  between  the  above  men- 
tioned motives  in  the  lateral  and  bottom  borders  are  rich  and  beautiful  bouquets  of  flowers, 
fruits  and  leaves. 


MAY  DAY  SCENE. 


Width  15  feet  2 inches:  height  10  feet  1 inch. 

THIS  marvel  of  tissue  painting  was  woven  by  the  celebrated  chef  d’ atelier  Audran  at  the 
Royal  Gobelins  during  the  reign  of  Louis  XV  after  models  of  the  Sixteenth  Century 
ascribed  to  Lucas  von  Leyden.  The  costumes  are  all  peculiar  to  the  nobility  and 
peasantry  of  France  during  the  reign  of  Francis  I. 

This  tapestry  is  one  of  a series  depicting  the  months  of  the  year,  of  which  there  are 
three  in  this  collection.  At  the  time  these  tapestries  were  woven  they  created  such  a furore 
and  made  such  a lasting  impression  upon  the  cultured  world  that  several  reproductions  were 
woven  in  the  Royal  Gobelins  during  the  Eighteenth  Century  and  are  now  mostly  to  be  seen 
in  the  national  museums  of  Europe. 

The  collector  who  is  fortunate  enough  to  secure  any  part  of  this  series  can  congratu- 
late himself  on  the  possession  of  an  unrivalled  work  of  art. 

The  superb  coloring  of  these  tapestries  to  which  the  hand  of  time  has  added  a mellow 
richness,  the  masterly  drawing  of  the  composition,  the  magnificent  animation  of  the  scene, 
especially  the  tapestry  illustrated,  is  of  exceptional  beauty  and  refinement. 


For  Illustration  of  TapeSttry,  see  Cover. 


ARMS  OF  COLBERT. 


Width  6 feet  8 inches:  height  9 feet  5 inches. 

THIS  tapestry  is  one  of  a set  of  two  which  are  in  this  collection.  They  were  woven 
in  the  Royal  Gobelins  establishment  during  the  reign  of  Louis  XIV  for  Jean 
Baptiste  Colbert,  the  Finance  Minister  of  that  sovereign. 

These  tapestries  are  in  a very  perfect  condition  and  the  superb  colorings  have  mel- 
lowed by  age,  which  further  enhances  their  great  beauty.  The  tapestries  rank  with  the 
finest  productions  of  the  famous  Gobelins  Ateliers. 

Colbert  became  Councillor  of  State  at  the  age  of  twenty-nine  and  Secretary  to  the 
Queen  at  the  age  of  thirty-five.  Cardinal  Mazarin  on  his  death  bed  commended  him  to  Louis 
XIV,  who  made  him  Controller  General  of  the  Finances  at  the  age  of  forty-two.  The 
commerce  and  manufactures  of  France  were  so  prosperous  under  his  management  that  Vol- 
taire styled  him  “The  founder  of  commerce  and  protector  of  all  the  Arts.”  He  was  the 
prime  mover  in  the  creation  of  the  present  Gobelins.  In  1 662  he  bought  the  “Hotel  des 
Gobelins”,  and  transferred  it  to  the  Ateliers  formerly  existing  in  the  Galleries  of  the  Louvre 
under  the  master-weavers,  Le  Febvre  and  Laurent,  as  well  as  those  established  at  Maincy 
by  the  celebrated  Fouquet  under  the  direction  of  Le  Brun,  and  united  them  with  these  of 
De  Camans  already  existing  at  the  Gobelins  under  the  master-weavers  Jean  Jans  and  Jean 
de  la  Croix.  He  made  Le  Brun  Director  General,  and  Jans,  Le  Febvre  and  Laurent  chiefs 
of  the  first,  second  and  third  Ateliers  of  high-warp  weaving,  and  de  la  Croix  chief  of  the  first 
Atelier  of  low-warp  weaving.  In  1 667,  his  purchase  of  the  Hotel  des  Gobelins  was  trans- 
ferred to  Louis  XIV,  who  issued  an  edict  entitling  it  “Manufacture  des  Meubles  de  la 
Couronne.”  The  original  Gobelins  was  founded  by  Sully,  the  great  Minister  of  Henry 
IV,  and  he  leased  the  hotel  above  named  and  installed  in  it  weavers  imported  from  Flanders 
to  teach  the  French  the  Flemish  method  of  weaving. 

Colbert  was  Superintendent  and  Director  of  the  Royal  Palaces  and  the  other  build- 
ings belonging  to  the  crown  from  1662  to  1 683,  and  it  was  under  his  administration  that 
the  Gobelins  created  the  famous  Arras  illustrating  a visit  of  Louis  XIV  to  his  Royal  manu- 
factory. 

The  fact  that  two  portieres  which  are  the  subject  of  this  monograph  were  woven  for 
the  prime  mover  in  the  creation  of  the  present  Gobelins,  and  its  Superintendent  for  twenty- 
one  years  gives  them  not  only  historical  importance,  but  attaches  to  them  a sentimental  value 
which  is  unique.  Nothing  could  be  more  appropriate  than  that  the  Gobelins  should  have 
perpetuated  in  warp  and  woof  the  crown  and  amorial  bearings  of  the  man  to  whom  it  owed 
such  a large  proportion  of  its  glories. 


ROYAL  AUBUSSON  TAPESTRY  “WATTEAU  SCENE.” 


Width  9 feet:  height  7 feet  9 inches. 

THIS  tapestry  was  woven  in  the  Royal  Ateliers  in  Aubusson,  France  during  the  reign 
of  Louis  XV,  when  certain  Ateliers  in  Aubusson  were  under  Royal  patronage 
and  it  was  during  this  time  that  tapestry  weaving  in  Aubusson  reached  its  zenith. 
This  period  was  not  of  long  duration  and  in  consequence  the  tapestries  executed  during  that 
time  are  extremely  rare  and  valuable. 

It  possesses  all  the  remarkable  decorative  qualities  for  which  the  tapestries  that  origin- 
ated in  these  Ateliers  have  always  been  celebrated.  The  foliage  is  woven  in  deliciously  soft 
and  delicate  tones.  There  are  no  vivid  shades  and  no  violent  contrasts.  The  architectural 
features  have  been  managed  with  consummate  skill,  so  they  apparently  mold  into,  and  form, 
as  they  should,  integral  part  of  the  background  scene,  and  are  shaded  and  toned,  in  entire 
harmony  with  the  landscapes. 


r B 'HE  tapestries  illustrated  are 
J.  but  a few  of  the  marvels  of 
textile  art  in  the  collection  of  the  late 
Charles  M.  Ffoulke.  The  assemblage 
is  rich  in  the  finest  examples  of  the 
Gobelins , Royal  A ubusson , Beauvais 
and  Flemish  weaves , executed  by 
artist  weavers  whose  names  stand for 
the  highest  achievements  in  this  art. 

Museums , connoisseurs  and  col- 
lectors will  find  this  a unique  oppor- 
tunity to  purchase  specimens  of  im- 
portance and  authenticity. 

The  collection  is  one  of  the  most 
remarkable  and  interesting  ever  off- 
ered for  sale  and  includes  some  fine 
specimens  of  furniture , embroideries 
and  laces. 

P.  IV.  FRENCH  & CO. 


6 CAST  .56///  STREET 
NEW  YORK 


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